#fob fanfics

[mikeysgerard]

You ever clutch your phone to your chest whenever you finish reading a fanfic and you're like, sighing and thinking "yeah, that one's gonna stay with me forever" and smile all content and happy to yourself because you just read the most amazing thing on earth

[thefreakandthehair]

piece of cake

written for ‘cake’ wc: 311 | rated: g | cw: none @steddiemicrofic

June 25th, 1989

“Why’s no one moving? Is this part of the metal show experience?” Steve groans, one hand resting on the bottom of the wheel and the other raking roughly through his hair.

“Nope, this is the by-product of people not knowing how to fucking drive.” Eddie sighs and shakes his head, the bun he’s tied his frizzy hair into sliding to one side.

Their ears ring and their necks begin to ache as the post-concert euphoria fades after waiting in a non-moving line of traffic for forty-five minutes. It’s unsurprising given all that their bodies have been through, but Eddie will be damned if he lets the Upside Down take headbanging from him.

Steve had joined in with him, of course, wanting to give Eddie the full experience after missing them the last time they were around in 1986 but fun as it was, he’s paying for it already. All he wants to do is get home from Fort Wayne, lay down in the shower, and will the headache away. Cars inch forward, slow and tedious, but it’s movement all the same. Just as they approach the end of the aisle, a lifted pick-up truck tries to squeeze out ahead of them.

“Oh you mother– I’m getting us out of here, Ed. Watch this,” Steve grits out, placing his hand on Eddie’s chest.

“What are you–”

“Hey! Hey, asshole!” Steve yells out Eddie’s passenger window. He points a finger furiously and looks the driver straight-on with the confidence of a man who’s fought monsters and won. “Not today. Wait your fucking turn.”

Without another word, Steve inches forward and breaks free of the aisle.

“Dude, are you insane? What was that?” Eddie asks, wide-eyed and unbearably turned on.

Steve turns to wink at his boyfriend whose cheeks are flushed from more than the summer heat.

“See? Piece of cake.”

[lakemichiganlolita]

It's here

something special, someone sacred (explicit, m/m, 16 chapters, no ao3 warnings) themes: sugaring, daddy issues, age difference, domestic discipline, healing

A little lost as he approaches graduation, and unsatisfied with the college dating pool, Patrick connects via a sugar dating app with the established, much-older Pete, who turns out to be a little more broken than he seems. Their intense chemistry sparks new levels of intimacy for both, but they’re more alike than they think: their shared impulse to shy away from being deeply known tempts them to self-destruct, even more together than alone. Can raw physicality heal them, or will they find ways to see each other beneath and beyond the skin?

written by @lakemichiganlolita and illustrated by @greatxparty

new chapters released every couple of days!

proudly part of @bandombigbang 2024 - check out the other works!

[stumped-on-bennington]

Better Off as Lovers

Summary: your best friend has something he needs to get off hus chest, but he's had a little too much to drink.

Pairing: Patrick Stump x best friend!reader

Reader's pronous used: none!

Word count: 903

You were a little sloshed at the time. Your best friend's band had just played a big show and now you were out at the after party, drinking like it was nobody's business. You made your way through the crowded room to where Patrick was.

He was a bright shade of red from drinking. He was humming and singing as he swayed in his seat, his eye opening slightly as you got closer. Patrick nearly fell out of his seat at the sight of you, catching himself on your shoulders.

“Y/N!” Patrick said, slurring his words slightly. He pulled you closer to him, smushing your face against his chest. “Ooohhh, Y/N. You are so precious. Look at you, so cuuuteee!”

You pull yourself up a little so you can look at Patrick and let out a laugh from how he was acting.

“Trick, you're getting flirty, I think you've had enough.” You say, still laughing.

“Noooo, I'm just telling you how cute you are and how much I love you. You're the best thing that has ever happened to me, Y/N.” Patrick said, clumsily leaning in the chair.

“I love you too, Trick.” You tell him, plopping down in the chair next to him.

“No you don’t. Not like I love you. You're just so cute and smart and amazing. I want to just give you everything in the world and call you mine.” Patrick says, his eyes closed and a smile plastered on his face.

You suddenly sobered up a bit, heat rushing to your face as you realized that your best friend had just confessed to you.

“Trick, I think you should really stop drinking now. You're starting to not make any sense.” You say, standing up and helping Patrick out of his seat.

You began to move him towards the door so you could get him back to his apartment. You walked out the door and down the street with Patrick's arm slung over your shoulder for support. The entire walk Patrick kept humming songs and stumbling at every step. After a long and cold walk, you arrive at the front door of Patrick's apartment. You use your spare key to open the door and struggle getting Patrick up the stairs.

Once inside, you drop Patrick down on the couch and turn back to close the door. You take off your coat and shoes and go into the kitchen and retrieve a glass of water and bring it to Patrick.

“Here, Trick. You need to drink some water.” You tell him, trying to put the glass in his hands.

“You're so cute when you worry about me.” Patrick hums. He lifts the glass towards his mouth and ends up dumping most of the contents onto himself.

You let out a sigh, helping Patrick back up and bringing him towards his room.

“Alright, you're probably better off just going to sleep. Go ahead and get that wet shirt off and get in bed.” You tell Patrick.

Patrick begins taking off his shirt, but gets the collar stuck on his head. You let out a sigh once again and begin helping Patrick get his shirt off. Once he gets his head through the collar, Patrick looks down at you and smiles.

“Y/N?” He says.

“Yes?” You answer back.

“Hi.” Patrick says, the biggest grin on his face as he giggles like a kid.

You begin to lead him to his bed, but before you know it, Patrick has wrapped his arms around you and is now pulling you onto the bed with him.

“Stay with me tonight, please?” Patrick says, his face now nuzzled into your shirt.

“Trick..” you begin to say.

“Just for one night, let me pretend that you're mine.” Patrick says, his voice no louder than a whisper.

“You don't have to pretend, Trick.” You say as you return the favor and wrap your arms around Patrick.

Soon, both of you are lost in sleep.

Bonus!:

The next morning you wake up, still in Patrick's arms. The light of the day gently peaking through the gaps in the blinds and dancing across Patrick's shirtless body.

Your heart drops for a second before you recall the events of the previous night. Once you have the situation settled in your mind, you fall back into ease. Soon Patrick starts to wake up as well, peaking one eye open to look down at you.

“Oh God, what did I do last night?” Patrick says, his voice hushed and husky with sleep.

“Well, you got really drunk, I brought you home, you spilled water all over yourself, and then said you wanted me to be yours.” You tell him, matching the hushed tone that he had.

Patrick began to blush and tried to bury his face into his pillow.

“And I've decided that I'd like that.” You say, somehow even quieter than your last sentence.

Patrick's head slowly rises back up to face you, “y-you.. what?” He says.

A warm smile spreads across your face as you see the shocked look he has.

“I said I would like to be yours. I think we'd be better off as lovers anyway.” You say as you bring your head closer to Patrick's chest, nuzzling into him. Patrick's shock slowly fades as he slowly pulls you closer to him, an equally warm smile growing on his face and he holds you closer.

[badnewswhatsleft]

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

[frozen-fruit-project]

Me rolling my eyes at the girls in my dorm who cry about the toxic boyfriends they refuse to leave like my Fall Out Boy rpf longfic isn’t giving me an equal amount of unnecessary stress and trauma.

[alfietimewolf]

purely for science, I want writers to like or reblog this if they've ever named a fic or titled a chapter with a Fall Out Boy song.

[roughbuddy]

“The evil laugh continues. The source of the voice starts singing some amazing runs, and steps out from the shadows. Is that…

The entire audience gasps. In unison, they say, “PATRICK STUMP?””

[doverstar]

"Life, my life. Sometimes it feels sort of…not quite…real."

Visuals For My Fics: Will "Eleven" Mott from Lost and Rewritten

[melancholyghoul]

Consistently thinking of punk!eddie

I've been considering writing a fic where he performs at an alt bar on like Saturdays or something for extra money (roughly season 2 era), but doesn't tell anyone. Buck goes into that bar one night cause it's the end of Buck 1.0 and he's sick of his normal spots, absolutely shocked to see his coworker on the small stage holding a guitar.

Eddie holds his direct eye contact whilst singing lyrics such as :

My heads in heaven, my soles are in hell

Let's meet in the purgatory of my hips and get well

And

When I'm home alone I just can't stop myself

And you pull my head so close, volume goes with the truth

And

Wishing to be the friction in your jeans

And

I comb through the crowd, and pick you out

My mouth moves too fast for you to figure it out

It starts eyes closed to fingers crossed

To I swear I say

To I swear I say

To hands between legs, to whatever it takes

To drinks at the club, to the bar, to the keys to your car

[...]

To the love, I left my conscience pressed

Through the keyhole I watched you dress

Kiss and tell

Loose lips sink ships

[sealtrick]

Mature, Ryan Ross/Pete Wentz, 6378 words

If you asked anyone who knew him, they’d probably tell you with half a smile that Ryan Ross can see the future. If you asked Ryan Ross though, he’d look at you unblinkingly through softly styled, slightly too long bangs, and ask you how much you’re willing to pay. or; a fic about clairvoyant abilities, your life not going the way you thought it would, fate, and also none of those things at all.

[indie-trash]

Pete Wentz really played bang the doldrums with Mikey Way right there...

Any way send me petekey fic

[spilt-dreams]

DESPERATELY in search of: specific long OLD Peterick fic

I realize it may be weird to call into the abyss on this defunct blog but I am desperately in search of a fanfic that ruined my life many years ago and I wanted to revisit because I loved it so much. I’m pretty confident it was posted on live journal (but for some reason I think it was cross posted to A03 somewhere along the lines? MAYBE?)

Details I remember from the fic:

-Pete gifted Patrick a blue guitar (for Christmas? I think?) that matched his eyes perfectly (this was a recurring mention but happened early on)

-Patrick initially refused to perform Saturday because Pete wrote it about him losing his virginity LOL

-followed fall out boy from the beginning and worked through the timeline of then being a band up until the time that would be when Pete and Ashlee got married irl

-Pete and Patrick were together at the beginning of the fic and end but mostly separated in the middle and the fic mentioned other relationships they had (real, speculative, and fake)

-after the Honda civic tour Pete was with Mikey Way at one point and Patrick had a thing with Bob Bryar

anYWAY! I would be so so so appreciative if anyone knows what I’m talking about and could help me track it down! Please let me know if this sounds familiar to you and you know where I could find it!

I’ve spent half a week trying to find this but I haven’t even caught a whisper on the wind of it 😭

[idontknowwhyimhere102]

If you see this, HAND OVER YOUR BANDOM FANFIC RECOMMENDATIONS NOW!!!!

PUT THEM IN THE TAGS 😠

[stumped-on-bennington]

I Ripped Myself Apart

Summary: You find Patrick comparing himself to Pete and he needs a little reminder that he's just as important as well.

Pairing: Patrick x Reader

Word Count: 769

You were just getting packed for the tour when you found him. The band had just finished up an interview where they were answering some fan questions. You entered the spare closet to grab a jacket that you remember you had put in there. When you opened the door you found Patrick Sitting on the floor, tears running down his face.

“Trick? What's wrong, baby?” You asked, quickly kneeling down next to him. Patrick tried to quickly dry his face and clear his throat. 

“Oh, nothing. Don't worry about it, I was just reminiscing and got carried away, I'm fine.” He said, trying to stand up. You grabbed his hand as he began to leave, Patrick looking you in the eyes, seeing the worry that you held in them, and let out a sigh. Patrick sat back down on the floor and held your hand. 

“It's just… What if I wasn't actually made for this? All the fans look up to Pete and always ask him about everything. Where he get the inspiration for songs, what it's like to be famous, like they all know that I have no idea what I’m doing and that I don't belong in the same room as him.” He says these words with such a sad look in his eyes, like these were facts he had read all his life. 

You give his hand a squeeze, pulling him from falling back into his deep thoughts. Patrick give you a slight smile as a thanks for being with him, but it quickly fades as he looks back at the ground. “I know I'm not meant to be this big singer or anything. All I wanted was to play music with my friends and it all spiraled out of control. Now I'm stuck pretending like I know what I'm doing. Hell, even the fans know that I'm not good, that's why they always look up to Pete and see him as the head of the band. It’s why everyone wants Pete, with how fit he is and how he has the better fashion sense.” 

Your heart breaks hearing what Patrick says about himself. 

“Trick, that's not true. The fans all look up to you too. The way you sing and play is inspiring and such an integral part of the band. You inspire so many people all across the world, baby.” You say, leaning in closer to Patrick. He looks up at you and gives you a slight smile, this time with genuine warmth radiating from his eyes. 

“Plus,” you tell him, “if Pete was the attractive one, I wouldn't find you so yummy.” You say with a wink. 

Patrick laughs, “Ew!” He says jokingly. You giggle a little too, leaning more into Patrick. 

“But seriously, You are truly talented. AND you’ve worked so hard to get yourself and the band to where you are now. If you really were just faking it and didn’t know what you were doing, then the fans would be able to see right through it. But you put your entire heart on your sleeve, and that’s what matters, not looks or clothes or anything like that. And if other people truly didn’t find you attractive then they wouldn’t share your pictures with “My dinner” commented on them.” You tell Patrick.

Patrick laughs, visibly better than he was when you found him. He stands up and offers you a hand, you take it and stand with him. Patrick wraps his arms around you, resting his head on top of yours.

“Thank you, Y/N.” He says, pressing a kiss to the top of your head. 

Bonus!

“Oh wow, you weren't joking about the “my dinner” thing… what does that even mean?” Patrick says, scrolling through a sea of random pictures if him, all with the caption “my dinner 😋”.

“Honestly, I have no idea where or why that started, but to be fair, you are quite the dish.” you say, playfully nudging him with your elbow.

Patrick then decided to look up “Patrick x Y/N”. Almost instantly turning red.

“Whatcha lookin at?” You say leaning over and looking at Patrick's phone. Your vision was then overwhelmed by the sight of dozens of drawings of the two of you, most of them in not so PG scenarios. 

As you and Patrick sat there, red as beets, Pete glanced over at the phone screen. 

“WOAH-OH OH!” Pete exclaimed. Patrick tried to quickly turn off the screen, but it was too late.

“Oh man! I know what I'm printing out and hiding on the tour bus!” Pete said, laughing as he walked away.

[what-goesaround-comesaround]

Full credit to @youll-find-out-on-saturday for the Unholyverse/Barbie meme inspiration!!